Quarterly Review: Horisont, Blackwolfgoat & Larman Clamor, Matushka, Tuna de Tierra, MAKE, SardoniS, Lewis and the Strange Magics, Moewn, El Hijo de la Aurora, Hawk vs. Dove

Posted in Reviews on September 30th, 2015 by H.P. Taskmaster


Cruising right along with the Fall 2015 Quarterly Review. I hope you’ve been digging it so far. There’s still much more to come, and I’ve spaced things out so that it’s not like all the really killer stuff was in the first day. That’s not so much to draw people in with bigger names as to get a good mix of styles to keep me from going insane. 10 records is a lot to go through if you’re hearing the same thing all the time. Today, as with each day this week, I’m glad to be able to change things up a bit as we make our way through. Let’s get to it.

Fall 2015 Quarterly Review #21-30:

Horisont, Odyssey

horisont odyssey

Aside from earning immediate points by sticking the 10-minute title-track at the front of their 62-minute fourth album, Swedish mustache rockers Horisont add intrigue to Odyssey (out on Rise Above) via the acquisition of journeyman guitarist Tom Sutton (The Order of Israfel, ex-Church of Misery). Their mission? To rock ‘70s arena melodies and grandiose vibes while keeping the affair tight enough so they don’t come across as completely ridiculous in the process. They’ve had three records to get it together before this one, so that they’d succeed isn’t necessarily much of a surprise, but the album satisfies nonetheless, cuts like “Blind Leder Blind” departing the sci-fi thematics of the opener for circa-1975 vintage loyalism of a different stripe, while “Back on the Streets” is pure early Scorpions strut, the band having found their own niche within crisp execution of classic-sounding grooves that seem to have a vinyl hiss no matter their source.

Horisont on Thee Facebooks

Rise Above Records

Blackwolfgoat & Larman Clamor, Straphanger / Drone Monger Split

blackwolfgoat larman clamor split

I’ll make no bones whatsoever about being partial to the work of both Blackwolfgoat – the solo experimental vehicle of Boston-based guitarist Darryl Shepard – and Larman Clamor – the solo-project of Hamburg-based graphic artist Alexander von Wieding – so to find them teamed up for a split 7” on H42 Records is something of a special thrill. Shepard’s inclusion, “Straphanger,” continues to push the thread between building layers of guitar on top of each other and songwriting that the last Blackwolfgoat full-length, Drone Maintenance (review here), found him exploring, while Larman Clamor’s “Drone Monger” is an alternate version from what appeared on last year’s Beetle Crown and Steel Wand (review here) and “Fo’ What You Did” digs deep into the swampy psych-blues that von Wieding has done so well developing for the last half-decade or so in the project’s tenure. My only complaint? No collaboration between the two sides. Would love to hear what Shepard and von Wieding could do in a cross-Atlantic two-piece.

Blackwolfgoat on Thee Facebooks

Larman Clamor on Thee Facebooks

H42 Records

Matushka, II

matushka ii

II is the aptly-titled second full-length from Russian heavy psych instrumentalists Matushka, who jam kosmiche across its four component tracks and round out by diving headfirst into the acid with “Drezina,” a 20-minute pulsation from some distant dimension that gives sounds like Earthless if they made it up on the spot, peppering shred-ola leads with no shortage of effects swirl. In comparison, “As Bartenders and Bouncers Dance” feels positively plotted, but it, “The Acid Curl’s Dance” before and the especially dreamy “Meditation,” which follows, all have their spontaneous-sounding elements. For guitarist Timophey Goryashin, bassist Maxim Zhuravlev (who seems to since be out of the band) and drummer Konstantin Kotov to even sustain this kind of lysergic flow, they need to have a pretty solid chemistry underlying the material, and they do. I don’t know whether Matushka’s II will change the scope of heavy psychedelia, but they put their stamp on the established parameters here and bring an edge of individuality in moments of arrangement flourish — acoustics, synth, whatever it might be — where a lot of times that kind of thing is simply lost in favor of raw jamming.

Matushka on Thee Facebooks

Matushka on Bandcamp

Tuna de Tierra, EPisode I: Pilot

tuna de tierra episode i pilot

If a pilot is used in television to test whether or not a show works, then Tuna de Tierra’s EPisode I: Pilot, would seem to indicate similar ends. A three-song first outing from the Napoli outfit, it coats itself well in languid heavy psychedelic vibing across “Red Sun” (the opener and longest track at 8:25; immediate points), “Ash” (7:28) and the particularly dreamy “El Paso de la Tortuga,” which closes out at 4:08 and leaves the listener wanting to hear more of what Alessio de Cicco (guitar/vocals) and Luciano Mirra (bass) might be able to concoct from their desert-style influences. There’s patience to be learned in some of their progressions, and presumably at some point they’ll need to pick up a drummer to replace Jonathan Maurano, who plays here and seems to since be out of the band, but especially as their initial point of contact with planet earth, EPisode I: Pilot proves immersive and a pleasure to get lost within, and that’s enough for the moment.

Tuna de Tierra on Thee Facebooks

Tuna de Tierra on Bandcamp

MAKE, The Golden Veil

make the golden veil

Much of what one might read concerning North Carolinian trio MAKE and their second album, The Golden Veil, seems to go out of its way to point out the individual take they’re bringing to the established parameters of post-metal. I don’t want to speak for anyone else, but part of that has to be sheer critical fatigue at the thought of another act coming along having anything in common with Isis while at the same time, not wanting to rag on MAKE as though their work were without value of its own, which at this point an Isis comparison dogwhistles. MAKE’s The Golden Veil successfully plays out an atmospherically intricate, engaging linear progression across its seven tracks, from the cut-short intro “I was Sitting Quietly, Peeling back My Skin” through the atmospheric sludge tumult of “The Absurdist” and into the patient post-rock melo-drone of “In the Final Moments, Uncoiling.” Yes, parts of it are familiar. Parts of a lot of things are familiar. Some of it sounds like Isis. That’s okay.

MAKE on Thee Facebooks

MAKE on Bandcamp

SardoniS, III

sardonis iii

To an extent, the reputation of Belgium instru-crushers SardoniS precedes them, and as such I can’t help but listen to “The Coming of Khan,” which launches their third album, III (out via Consouling Sounds), and not be waiting for the explosion into tectonic riffing and massive-sounding gallop. Still the duo of drummer Jelle Stevens and guitarist Roel Paulussen, SardoniS offer up five tracks of sans-vocals, Surrounded by Thieves-style thrust, a cut like “Roaming the Valley” summarizing some of the best elements of what they’ve done across the span of splits with Eternal Elysium and Drums are for Parades, as well as their two prior full-lengths, 2012’s II and 2010’s SardoniS (review here), in its heft and its rush. A somewhat unanticipated turn arrives with 11:46 closer “Forward to the Abyss,” which though it still hits its standard marks, also boasts both lengthy atmospheric sections at the front and back and blastbeaten extremity between. Just when you think you know what to expect.

SardoniS on Thee Facebooks

Consouling Sounds

Lewis and the Strange Magics, Velvet Skin

lewis and the strange magics velvet skin

With their debut long-player, Barcelona trio Lewis and the Strange Magics answer the promise of their 2014 Demo (review here) in setting a late-‘60s vibe to modern cultish interpretation, post-Uncle Acid and post-Ghost (particularly so on “How to be You”) but no more indebted to one or the other than to themselves, which is as it should be. Issued via Soulseller Records, Velvet Skin isn’t afraid to dive into kitsch, and that winds up being a big part of the charm of songs like “Female Vampire” and “Golden Threads,” but it’s ultimately the chemistry of the organ-inclusive trio that makes the material hold up, as well as the swaggering rhythms of “Cloudy Grey Cube” and “Nina (Velvet Skin),” which is deceptively modern in its production despite such a vintage methodology. The guitar and keys on that semi-title-track seem to speak to a classic progressive edge burgeoning within Lewis and the Strange Magics’ approach, and I very much hope that’s a path they continue to walk.

Lewis and the Strange Magics on Thee Facebooks

Soulseller Records

Moewn, Acqua Alta

moewn acqua alta

Basking in a style they call “oceanic rock,” newcomer German trio Moewn unveil their first full-length, Acqua Alta, via Pink Tank Records in swells of post-metallic undulations that wear their neo-progressive influences on their sleeve. Instrumental for the duration, the three-piece tracked the album in 2014 about a year after first getting together, but the six songs have a cohesive, thought-out feel to their peaks and valleys – “Packeis” perhaps most of all – that speaks to their purposeful overall progression. Atmospherically, it feels like Moewn are still searching for what they want to do with this sound, but they have an awful lot figured out up to this point, whether it’s the nodding wash of airy guitar and fluid heft of groove that seems to push “Dunkelmeer” along or second cut “Katamaran,” which if it weren’t for the liquefied themes of the art and their self-applied genre tag, I’d almost say sounded in its more spacious stretches like desert rock à la Yawning Man.

Moewn on Thee Facebooks

Pink Tank Records

El Hijo de la Aurora, The Enigma of Evil

el hijo de la aurora the enigma of evil

Since their first album, 2008’s Lemuria (review here), it has been increasingly difficult to pin Peruvian outfit El Hijo de la Aurora to one style or another. Drawing from doom, heavy rock, drone and psychedelic elements, they seem to push outward cosmically into something that’s all and none of them at the same time on their third album, The Enigma of Evil (released by Minotauro Records), the core member Joaquín Cuadra enlisting the help of a host of others in executing the seven deeply varied tracks, including Indrayudh Shome of continually underrated experimentalists Queen Elephantine on the acoustic-led “The Awakening of Kosmos” and the penultimate chug-droner “The Advent of Ahriman.” Half a decade after the release of their second album, Wicca (review here), in 2010, El Hijo de la Aurora’s work continues to feel expansive and ripe for misinterpretation, finding weight in atmosphere as much as tone and breadth enough to surprise with how claustrophobic it can at times seem.

El Hijo de la Aurora’s website

Minotauro Records

Hawk vs. Dove, Divided States

hawk vs dove divided states

Dallas outfit Hawk vs. Dove recorded Divided States in the same studio as their self-titled 2013 debut (review here) and the two albums both have black and white line-drawn artwork from Larry Carey, so it seems only fitting to think of the new release as a follow-up to the first. It is fittingly expansive, culling together elements of ‘90s noise, post-grunge indie (ever wondered what Weezer would sound like heavy? Check “X”), black metal (“Burning and Crashing”), desert rock (“PGP”) and who the hell knows what else into a mesh of styles that not only holds up but feels progressed from the first time out and caps with an 11-minute title-track that does even more to draw the various styles together into a cohesive, singular whole. All told, Divided States is 38 minutes of blinding turns expertly handled and impressive scope trod over as though it ain’t no thing, just another day at the office. It’s the kind of record that’s so good at what it does that other bands should hear it and be annoyed.

Hawk vs. Dove on Thee Facebooks

Hawk vs. Dove on Bandcamp

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Demon Eye Post New Video for “End of Days”

Posted in Bootleg Theater on September 18th, 2015 by H.P. Taskmaster

demon eye

North Carolina semi-cultish heavy rockers Demon Eye released their second album, Tempora Infernalia (review here), in May through Soulseller Records. It was and is the follow-up to last year’s Leave the Light (review here) in literal and figurative terms, expanding on many similar ideas while also pushing further along the band’s progressive path. And Demon Eye have proved quickly that they have something to offer in their near-garage take on post-Pentagram doom, somewhere between the classic and the modern and nowhere near as unclear about what they want to do as I seem to be about describing it, but more than their stylistic nuance, what really excites about their work thus far is the core of songwriting underneath.

There’s something to be said about the strength of underlying structure in songcraft and the various shapes of material one might build on such a solid foundation, and to me, Demon Eye just prove that. They’re not blindsiding anybody with technicality, and nor are they all-style-over-substance when it comes to their aesthetic choices, but they write memorable songs, and by focusing on that first, allow the rest to fill in naturally. Case in point is “End of Days” from Tempora Infernalia. Guitarist/vocalist Erik Sugg, drummer/vocalist Bill Eagen, bassist Paul Walz and lead guitarist Larry Burlison aren’t exactly subtle in terms of perspective, but the impact of the song is even more about its hook and how goddamn catchy it is. Thus far, I’ve heard nothing from Demon Eye to make me think they won’t continue to grow within this methodology.

And as I say, they have aesthetics to offer as well, as the new video for “End of Days” demonstrates. Demon Eye already shared the stage this week with Mos Generator and The Atomic Bitchwax, and they have shows coming up in the next few weeks with Lo-Pan and Acid King as well. Dates follow the clip.


Demon Eye, “End of Days” official video

From “Tempora Infernalia,” courtesy of Soulseller Records. Video was compiled, created and edited by Carmen Parks and the Mystery Machine.

NEW OFFICIAL VIDEO for END OF DAYS! A huge thanks to The Mystery Machine. See Demon Eye at the upcoming shows:

9/24 – Spacebar in Columbus, OH w/ BEGGARS & LO-PAN
9/25 – Live Wire in Chicago, IL w/ LADIES OF LEISURE & CROSS HAMMER
9/26 – Detroit, Michigan w/ THE BEGGARS (Detroit)
10/24 – Kings Barcade in Raleigh, NC w/ ACID KING

Demon Eye on Thee Facebooks

Soulseller Records

Tags: , , , , ,

Mist UK Tour Starts Next Week

Posted in Whathaveyou on September 16th, 2015 by H.P. Taskmaster

mist (Photo by Lara Žitko)

Slovenian doomers Mist are heading out on their first tour of the UK starting Sept. 21. The five-piece band will be heralding the May 2015 release of their Inan’ EP on Soulseller Records, sneaking in a Belgian gig beforehand, and prefacing an appearance in the Netherlands next month at the Into the Void fest, where they’ll play with UfomammutMy Sleeping Karma and of course an enviable ton of others. After the band’s well-received Demo 2013 (review here), they continued to earn praise with Inan’ for their take on classic doom, atmospheric but not overblown and true to the genre’s riffy roots.

Tour dates and other info follow, as seen on the PR wire:

mist tour poster

Mist announced their first ever UK tour!

Ljubljana, Slovenia-based doom metal band Mist announced their first ever UK tour and just before that they will also make a short stop in Belgium. The band will be promoting their new EP entitled »Inan’« released in May 2015 via Soulseller Records.

Tour dates:
21.09.2015 Liège (BE), Péniche La Légia w/ Fading Bliss, Hyde
22.09.2015 Sheffield (UK), The Rocking Chair w/ Kurokuma, Northern Oak, The Miser On The Faerie Gump
23.09.2015 Edinburgh (UK), Bannermans Bar
24.09.2015 Aberdeen (UK), Downstairs w/ Civilised Worm, Oliver Richard
25.09.2015 Glasgow (UK), Nice N Sleazy w/ Aye Aye, Mauk
26.09.2015 London (UK), The Dev w/ Desolate Pathway, Sunstone
30.09.2015 Zagreb (CRO), Vintage Industrial Bar w/ Jex Thoth, Black Monastery
24.10.2015 Leeuwarden (NL) – Into The Void Festival w/ Sólstafir, Mono, Ufomammut, My Sleeping Karma, Christian Mistress, Wucan,…

Mist is a female-fronted doom metal band from Slovenia, formed in July 2012. They build their music on the legacy of legendary bands like Black Sabbath, Pentagram, Candlemass, Coven, Saint Vitus and others.

Even though they are a young band they have already had a chance to support some great acts, such as Uncle Acid & The Deadbeats, Helstar, Vicious Rumors, Manilla Road, Saint Vitus, Orange Goblin, Avatarium, Mount Salem, Seremonia, Officium Triste, Ophis and Cauchemar, and have already toured Austria, Italy, Croatia, Germany, Belgium, and the Netherlands. They also played the Malta Doom Metal Festival and the renowned Hammer Of Doom Festival last year, and this year they appeared on MetalDays Festival in Tolmin (Slovenia).

Mist released their first demo recording »Demo 2013« in November 2013 which has also been re-issued on CD and limited 7″ vinyl by Soulseller Records. They recently released a new EP entitled »Inan’«, including 3 brand new songs and re-recorded version of track Phobia from the previous release. The new EP was recorded in the fall of 2014, produced, mixed and mastered by Benjamin Kic from BK Mastering. The brilliant cover art was created by drummer Mihaela Žitko.

Nina Spruk – lead vocals
Ema Babošek – rhythm guitar & backing vocals
Blaž Tanšek – lead guitar
Neža Pe?an – bass
Mihaela Žitko – drums


Mist, “Inan’:

Tags: , , ,

Demon Eye, Tempora Infernalia: In the Fire and of It

Posted in Reviews on August 11th, 2015 by H.P. Taskmaster

demon eye tempora infernalia

From Raleigh, North Carolina, the dual-guitar foursome Demon Eye rode out of the gate strong on the songwriting of their first full-length, 2014’s Leave the Light (review here), a straightforward but still atmospherically-minded collection of cultish-themes and prime riffs that was likewise unpretentious and preaching to the genre-converted. The inevitable sophomore outing, also released on Soulseller Records, is Tempora Infernalia, which follows suit from its predecessor in its thematic — though one could argue the cult vibes are less direct here — and overall sonic foundation. There are shades of Pentagram-style doom with Uncle Acid‘s newer-modus swing, though it irons out to an able execution of doom rock either way, and Tempora Infernalia is at very least that.

Its 40 minutes/10 tracks are efficiently constructed and come out clean even as they seem to revel in dirt, guitarists Erik Sugg (also vocals) and Larry Burlison (lead), bassist/vocalist Paul Walz and drummer/vocalist Bill Eagen resounding in their cohesion as the record plays out, Sugg and Burlison leading the charge from opener “End of Days” onward, a ’70s boogie meeting early in uptempo pulse with doomly roll, the vocals furthering the retro vibe that’s balanced throughout with modernity of production. And that’s pretty much the story. Demon Eye are obviously capable songwriters, as they proved their first time out, and they have a clear idea of what they want to do with their sound, which they demonstrate plainly on these tracks in a manner that leaves very little room for argument.

And accordingly, I won’t argue against it. What I will say is that Tempora Infernalia feels like it was released a year after their debut, which of course it is. The actual timeline on when songs were written for both doesn’t really matter, what I’m talking about is more the level of progression between the two albums. Demon Eye started out knowing what they wanted to do, and with Tempora Infernalia, they’re doing it a second time. Cuts like “Listen to the Darkness” and side B’s shuffling “In the World, Not of It” are more than capable executions — the latter especially is a highlight that shifts the tempo slightly from the classic metallurgy of “Poison Garden” before it — but aren’t much more assured of their position than were “Edge of a Knife” or “Fires of Abalam” on the debut.

demon eye

The kicker there is the debut was already plenty assured, but for a band who hit the ground running in paying off the potential shown on their initial 2013 EP (all six songs from which were reused on the first album), one almost went into Tempora Infernalia expecting leaps and bounds from where they were a year ago, whereas the band’s project seems to be more centered around building a catalog of steady growth from one release to the next. Not an issue with the songs here — they even change things up in their approach with the “Solitude”-style penultimate placement of “Please, Father” before closer “Sons of Man” delivers the album’s nastiest hook — so much as with the context through which one enters into hearing them, but as someone who was impressed by the first record, the second stands behind it and affirms its motion rather than blowing it out of the water with the progression from one to the next.

That’s not to say Demon Eye haven’t grown at all in the last year. Leave the Light garnered fervent praise from underground circles, and the band accordingly took on the ’70s ethic of a quick follow-up. Fair enough. The vaguer threat of “I’ll be Creeping” and the speedy swing of “Black Winds” show a broader range for Tempora Infernalia and a willingness to try different ideas across a full-length span, while “See the Signs” reaffirms the craftsmanship that’s been the root of their appeal all along. Across the board, performances are air-tight, Sugg emerging as a frontman presence while not overplaying his hand in that regard, and the production and mixing of Alex Maiolo at Seriously Adequate Studio in NC are crisp in a way that adds to the momentum built as the record plays out.

A less-directly Satanic theme feels like a purposeful drive away from what they were doing on Leave the Light, and on repeat listens its blend of elder metal and newer heavy comes across as even more engaging, so while Demon Eye haven’t reinvented their or anyone else’s wheel with Tempora Infernalia, neither did they need to. Instead, they’ve set themselves on a steady path that mirrors the linear feel of their songwriting to produce a catalog of growth over a longer-term and more records. Whatever their method, all Tempora Infernalia really makes one do after listening to it is hope they keep working, however quickly they might or might not do so from here.

Demon Eye, “I’ll be Creeping”

Demon Eye on Thee Facebooks

Demon Eye on Bandcamp

Soulseller Records

Tags: , , , , ,

Lewis and the Strange Magics Post New Video for “Female Vampire”

Posted in Bootleg Theater on July 31st, 2015 by H.P. Taskmaster

lewis and the strange magics

Barcelona trio Lewis and the Strange Magics will release their debut album, Velvet Skin, Aug. 21 through Soulseller Records. The full-length follows last year’s impressive Demo (review here), which was among my favorite short releases of 2014 and tapped into that Beatlesian Sabbathery while managing to at the same time remain distinct from Uncle Acid, who one could reasonably argue are the foremost practitioners of the form. All three tracks from the demo will appear on the upcoming record, but the new song “Female Vampire” is the first I’m hearing from Velvet Skin and it proves even more individualized than the prior offering, the three-piece dug in deep to a circa-1967 vision of lysergics that, in the clip, meets with circa-1975 horror, the song taking its name from the title of a film released that year.

Performance clips manipulated with psychedelic visuals and copious NSFW ’70s boobage ensues, mining the ultimately familiar terrain of vintage exploitation and sexualized violence. The song itself has a complementary sense of camp to it, the vocals putting on a Dracula voice — think, “I vant to suck your blood,” — to deliver the title line in the chorus. It suits Lewis and the Strange Magics well to take the whole endeavor not quite so seriously as most of their cult-minded peers, who seem hell-bent on making listeners think they spend their nights at blood-soaked rituals and whatever else, and the reason it doesn’t fall into parody is because the songwriting stands up. As will happen, Baphomet shows up by the end, but they rightly conclude with a plug for the new album, which is one I’ll hope to get the chance to check out.

Video below, followed by PR wire info on Velvet Skin. Enjoy:

Lewis and the Strange Magics, “Female Vampire” official video (NSFW)

On August 21st the debut album “Velvet Skin” by Lewis & the strange magics will be released via Soulseller Records on Cd/Lp(lim.300) and Digital!

LEWIS AND THE STRANGE MAGICS was born in Barcelona, Spain, during the summer of 2014. Shortly after they released their debut demo which received great reception from audience and critics. Only a month later the band signed with Soulseller Records to release the debut LP, “Velvet Skin”, during 2015.

The album talks about human perversion, which is developed from dark ambients with 60s and 70s sounds. It was recorded and mixed by Filippo Medda at Algusano Records Studio (Mataró, Spain), mastered by Pete Weiss at Verdant Studio (Athens Vermont, USA), and the artwork was designed by Jo Riou (Paris, France). The band’s musical influences go from Black Sabbath to The Beatles, mixing heavy riffs with pop melodies, all wrapped up in a psychedelic and dark atmosphere, inspired by cult movies and occultism.

Track list:
1. Carbon Wine
2. How To Be You
3. Suzy’s Room
4. Golden Threads
5. Nina (Velvet Skin)
6. Female Vampire
7. Cloudy Grey Cube
8. Your Evil Trip

Lewis and the Strange Magics on Thee Facebooks

Lewis and the Strange Magics on Bandcamp

Soulseller Records

Tags: , , , , ,

Mist to Release New EP Inan’ on May 8

Posted in Whathaveyou on March 2nd, 2015 by H.P. Taskmaster

mist (photo by Lara Zitko)

Slovenian doom five-piece Mist will issue their new EP, the apostrophe-inclusive Inan’, on May 8 through Soulseller Records. Technically speaking, it’s their debut EP as well, though their Demo 2013 (review here) made enough of an impression that it was hard to think of it as the work of a band getting their bearings. Still, Inan’ will be four tracks and finds the Ljubljana outfit past the demo stage and onto more realized terrain. I wouldn’t be surprised if a first full-length followed soon behind.

Particularly notable is the fact that neither of the two tracks from Demo 2013 is reused for Inan’. I can’t help but wonder if there’s some aesthetic shift at play as well, and perhaps that’s what the incense and skull-holding in the photo above as well is hinting toward. We’ll find out in the Spring where Mist are headed sound-wise, and until then, here’s the info on Inan’ and the artwork for the EP, crafted by drummer Mihaela Žitko, courtesy of the PR wire:

mist inan

MIST: New EP details revealed

Slovenian Doom Metal band MIST will release a new EP (cd/lim.12″/digital) on May 8th though Soulseller Records. The 4-tracker entitled »Inan’« will include 3 new songs and one from the »Demo 2013«, recorded anew with the influence of the band’s current lead guitarist, Blaž Tanšek.

MIST formed in July 2012, originally as an all-female band, and build their music on the legacy of legendary bands like Black Sabbath, Pentagram, Candlemass, Coven, Saint Vitus and others.

»Inan’« was recorded in the fall of 2014, produced, mixed and mastered by Benjamin Kic from BK Mastering. The brilliant cover art was created by drummer Mihaela Žitko.

1. Inan’
2. Frozen Velvet
3. Phobia
4. Under The Night Sky

Nina Spruk – lead vocals
Ema Babošek – rhythm guitar & backing vocals
Blaž Tanšek – lead guitar
Neža Pe?an – bass
Mihaela Žitko – drums


Mist, Demo 2013

Tags: , , , , ,

Demon Eye to Release Tempora Infernalia May 8

Posted in Whathaveyou on February 26th, 2015 by H.P. Taskmaster

demon eye

North Carolinian cult-themed heavy four-piece Demon Eye are gearing up to release their second album, Tempora Infernalia, May 8 on Soulseller Records. The new record follows pretty quickly on the heels of early-2014’s debut, Leave the Light (review here), which was well received for its classic influences and catchy songwriting, cuts like “Fires of Abalam” and “From Beyond” immediately resonant in their riff-led hooks. As much of Leave the Light garnered its material from Demon Eye‘s prior demo/EP, 2013’s Shades of Black, this will mark their first long-player comprised of completely new songs. The debut wanted nothing for flow between its tracks, but it should be interesting to hear what Demon Eye have come up with this time around as they offer a bit of darkness to go with springtime.

Album info follows, as posted on their Thee Facebooks. Thanks to Kathleen Johnson for the tip:

demon eye tempora infernalia

DEMON EYE – New album details revealed!

Dark and groovy, loud and heavy – DEMON EYE are back! North Carolina’s occult hard rockers will release their new full-length entitled “Tempora Infernalia” on May 8th through Soulseller Records. The album was recorded and mixed by Alex Maiolo at Seriously Adequate Studio in Carrboro, NC and mastered by Pete Weiss at Verdant Studio in Southern Vermont.

The band’s sophomore release after last year’s highly acclaimed debut, “Leave the Light”, is a blast of wicked riffery and skilled songcraft that conjures apocalyptic visions of a world on the brink of destruction. The end is near, and we welcome its arrival!

Cover artwork (created by John Hitselberger, Raleigh NC)

1. End Of Days
2. Listen To The Darkness
3. I’ll Be Creeping
4. See The Signs
5. Poison Garden
6. In The World, Not Of It
7. Black Winds
8. Give Up The Ghost
9. Please, Father
10. Sons Of Man

Erik Sugg – Vocals, Guitars
Larry Burlison – Guitars
Paul Walz,- Bass
Bill Eagen – Drums, Vocals


Demon Eye, Leave the Light (2014)

Tags: , , , ,

Spectral Haze Stream I.E.V.: Transmutated Nebula Remains in Full

Posted in audiObelisk on October 31st, 2014 by H.P. Taskmaster


On Nov. 7, Oslo heavy psych rockers Spectral Haze will release their debut full-length, I.E.V.: Transmutated Nebula Remains through Soulseller Records. It’s the follow-up to a 2012 self-titled EP and their first outing to feature Thereminist/noisemaker Electric Starling, a six-track, two-sided collection of tripped out compositions, consuming in their psychedelic wash but with enough movement in the low end to keep from getting completely out of control, except, you know when that’s where they want to go.

The Norwegian fivesome of Electric Starling, guitarist/vocalist Spacewülff, guitarist Sönik Slöth, bassist Döômdögg (or at least I think that’s bass; he’s credited with “Dronemachinated AUM”) and drummer Cëlestïal Cöbra got their spectral haze iev transmutated nebula remains-1400start in 2011, and their sound is geared for maximum swirl. On I.E.V.: Transmutated Nebula Remains, they trip out almost immediately, the three cuts on side A becoming an amorphous, molten flow that continues through the end of the 11-minute “Black Gandharvas,” and onto the relatively brief side B intro, “I.E.V. II: Observing the Centre of Infinity.” One gets flashes of Nebula at their most blissed, but the push behind the subsequent “Descent through the Intravoidal” is pure space rock, and Spectral Haze maximize that vibe with a steady undercurrent of synth and effects.

I.E.V.: Transmutated Nebula Remains culminates with the 13:45 “Triads and Trishulas,” an expansive, multi-layered jam that, if you weren’t yet lost in the album, is bound to drag your consciousness away with it into some grandiose cosmic void. Like the record as a whole, it’s a satisfying journey of well executed, full-sounding space and heavy psychedelia, layers intertwining as the jam progresses through multiple stages en route to the lysergic payoff of both itself and the five songs preceding, a crash-laden groove marking “Triads and Trishulas” as a suitable finale for the vastness before it.

Today I have the pleasure of hosting the full album for streaming. Set the controls for the heart of the fuzz, and enjoy:


Spectral Haze‘s I.E.V.: Transmutated Nebula Remains is due out Nov. 7 via Soulseller Records on CD/LP/DL. More info at the links.

Spectral Haze on Thee Facebooks

Soulseller Records

Tags: , , , , ,